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Dawn Raffel - Further Adventures in the Restless Universe

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Dawn Raffel Further Adventures in the Restless Universe
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Dawn Raffels stories are like prismatic drops of rain, hanging from the edge of a roof or sliding down a windshield, reflecting an entire world within. The language of motherhood, of adulthood, of childhood the language of family and individual has never been like this. Sly and probing, with the sting of precision and pain. Susan Straight In Dawn Raffels the oppressive truth of our mortality unsettles but does not vanquish the spirit. The woman as drudge may be a failure at folding, but she is a rare songmaker whose dialogues with a son, a sister the usual figures from the family romance make for a musical and philosophical call and response. The son proposes one way to keep birds from crashing into fatally clear windows is to open the windows all over the world. These stories promise more life. Take them to heart! Christine Schutt When Dawn Raffel was a very small child, her father used to read to her nightly from The Restless Universe a laymans guide to physics by the Nobel Laureate Max Born. Although she loved the time spent with her father, she didnt despite his statements to the contrary comprehend a word of the physics. It was her first recognition that love so often comes with imperfect understanding. The 21 stories in are about fathers, daughters, mothers, sisters, husbands, wives, strangers, lovers, sons, neighbors, kings, death, faith, astronomical phenomena, and the way the heart warps time. Of her previous work, one reviewer stated, Raffel takes conventions and smashes them to bits and another called it extreme literature. Of Further Adventures, Publishers Weekly says, Raffels stripped-to-the-bone prose is a model of economy and grace. Dawn Raffel is the author of a previous collection of short stories, , and a novel, . Her work has appeared in , and numerous other periodicals and anthologies. She has taught creative writing in the MFA program at Columbia University and is a magazine editor in New York City. Readers have come to expect from Dawn Raffels prose nothing less than the syllable-by-syllable perfections of purest poetry and the boldest wisdom a human heart can hold. Her new collection of pithy, exquisite fictions about the timeless crises of mothers, daughters, and wives is breathtaking and haunting in its majestic exactitudes. Gary Lutz Less has never been more than in Dawn Raffels . These spare, high-intensity stories of brave people at the end of their ropes are not only models of writerly integrity, but monuments of the spirit asserting itself out of the depths of silence. David Gates

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Dawn Raffel

Further Adventures in the Restless Universe

In memory of my parents

And for Cherie

Visible light covers only about one octave, speaking in musical terms.

Max Born, The Restless Universe Translated from the German, 1936

NEAR TAURUS

After the rains had come and gone, we went down by the reservoir. No one was watching, or so it looked to us.

The night was like to drown us.

Our voices were high his, mine; soft, bright and this was not the all of it (when is it ever?).

Damp in the palm, unauthorized, young: We would never be caught, let alone apprehended, one by the other.

Orion, over there. He was misunderstood; thats what the boy told me. Only the belt. The body wont show until winter, he said. Arms and such.

Me, I could not find the belt, not to save my life, I said.

Flattened with want: There is always another time, he said.

He died, that boy. Light years! And here I am: a mother, witness, a raiser of a boy.

I could tell you his name.

I could and would not.

Heres where the world begins, he said. I see him now unbroken still; our naked eyes turning to legends, the dirt beneath us parched.

HER PURCHASE

The woman is awake now. She opens her purse.

Toast, eggs.

The road over-easy, or easy enough. Fork. A knife. Elaina her name, the fact of herself, is stuck in her with consciousness, a vengeance. Caffeine. Warm you up? the server says. The cream is artificial.

Elaina, like any good mother, is fully and dutifully absorbed in a spill. After a certain age, she says.

What age? the child, who is all too abundantly clearly hers her flesh and blood, etcetera says. Licked cloth, a scabbed knee; a hair, black, genetically impertinent, a fait accompli: split-end in the eye.

Jerome, look, Elaina says. Sometimes a bird flies into the glass.

What on earth? Jerome says.

The server is waiting, obtrusively. A smear is on the window.

Aggressively ribby the shirt Jerome wears. Wherever it came from, she did not buy it a gift, perhaps, or hand-me-down. A shade of blue. So much he will own, will bear about his person, that she will not choose.

Jerome appears to be bigger to her than the last time she looked, as well as, quite possibly, thinner. He is opening sugar, ripping up packets and pouring the contents into his mouth.

Stop it, she says. Her stimulant is dripping. The car is on asphalt, gathering heat. She knows she doesnt mean it. Let him, she thinks.

Money on the table, a mint in the hand. Youll rot your teeth.

What about the bird? Jerome says.

Picture 1

Completely exhausted, Elaina says. She is turning the wheel. The year is half over. Children in doorways, a bike in a yard banana seat rooms and rooms within each house. Somebody old is out on a lawn a woman to judge by the shape of the body, but this is a guess. Elaina will not look like that! A wind is up. An orange ball has been abandoned in a driveway. Here is the world as driven past: a hospital, school.

Will you stop asking questions? Elaina says.

Jerome says, What?which means, she thinks, Now tell me something else.

The bird, he says.

Ah, yes, she says. He is kicking the dashboard, unsafely in the front. I ought to know better, Elaina says.

Jerome is seven and a quarter or a third. Closer to a third. He is belted at least; at least theres that. Elaina does not look her age, not all of the time, or some of the time, she tells herself, as if, she tells herself, this were a comfort, this time.

A house they pass is gingerbread. Hansel and the other one: Eat you up! She taught him that.

Lilacs are blooming. Here it is Gretel! Another of her stories: His father groomed lilacs, and hasnt he, Jerome, heard? She pinned them, or she thinks she did, coiled in her hair, a petal to a curl. She will have to cut her hair. Of course, there is also a tale about that. Rapunzel or Samson. Drive, she thinks.

A girl with a basket.

Nothing in the glove, a pill or three. Her childs breath: Baby. A scent she is fond of.

Mom? he says. Mom?

Picture 2

It is somebodys birthday, the road sign says, revisably, in plastic.

Where is the freeway? Elaina says.

The sign is on wheels. It is raining, a bit. There is bile in her throat.

Happy he says.

She swallows, again.

Picture 3

Get that up, Elaina says. Spilt grape on vinyl. Money on trees. Last stop for miles and miles, forever. A Slurpee, no less.

She ought to teach manners, but who has time?

Tissue and napkins, so flimsy what she gives him a kiss. Another kiss, pulled over to a shoulder.

She ought to enforce better hygiene, she thinks.

Sorry, he says.

A ruffle of hair, and reacceleration.

Jerome is reading the names on signs. Menomonee. She taught him that. Oconomowoc. Ray-seen, Elaina says. Midwesternized. Bastardized. Directions too, Jerome knows. Over the river and through the woods She taught him that. South to Chicago. One, two, buckle my shoe she taught him that. I know an old lady who swallowed a fly

Perhaps shell stop.

Picture 4

Two in the morning or four or worse. Its a brilliant motel, though, at least on the outside.

Jerome is rightly sleeping. The room smells of breath, and of yesterdays throw-offs. Where is that shirt, Elaina thinks. And why cant she take charge of her possessions? She kisses him, her son, and walks away.

Back and forth and back and forth and back and back and back she goes, a sheet to the breast.

Theres a flicker in the bathroom.

The past never changes materially visit and visit, Elaina thinks. Her head is in the basin. The dead are still dead. She splashes the water onto her face; she towels absorption.

Slippers, a headache, ever so slight. The cells that must wriggle and wriggle and wriggle inside her. One, two

A seed, a wretched pellet.

She smells Jeromes skin as she lies down beside him, divided, awake, and wonders, will she miss him?

Picture 5

What? Jerome says.

They are in the museum regarding bones. Under a limb: Jerome says hes thirsty. So much in the world! (The Great Lake look! Look, the Windy City!) The body is always insisting on something. This, that; more, yes. Forever the expense of it!

Gum she has to quench his need, excuses, postponement. See, she says, the size of this. A knuckle. The room. The thrill of extinction.

See how enormous, Elaina says. Consider the enormity.

Jerome is not stupid, Elaina thinks.

Picture 6

Elaina says, Weather.

Toes to the counter. Chicken on a spit. The beef is with awe juice, the server says.

I am lonely, Jerome says.

Shake of the month. Precipitation in a tumbler. Wipe your mouth, Elaina says. And how can you be lonely when I love you so much?

Mom, Jerome says a word that means anything and everything and nothing, a holder of space, Elaina thinks, a consonant receptacle. Who said I was scared?

Ala mode, the server says.

Jerome has dessert. He has crackers in wrappers after dessert.

The windshield is salted with droppings and grit.

I am not afraid, Jerome says. Things are underfoot again, despite her imprecations rigid, articulated figures with what would appear to be lethal capability. Blade upon glass. Rain, rain, go away. Jerome, at least, is singing. The pterodactyl jacket: She gave him that, didnt she?

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